1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
5 When revising a translation, copy the HEAD committish of the
6 version that you are working on. See TRANSLATION for details.
14 1.2.3.1 Time signature
15 Needs an example of beatLength, which is broken (see my recent
17 to -bug). What to do? For now I've left a paragraph of text
19 needs to be inserted with an example in a snippet.
21 1.2.3.4 Polymetric notation
22 Quite extensive changes. Could you please check through. Divided
24 sections. Necessarily uses tweaks. I've also left an @lsr under
26 Snippets - is this permitted or is @lsr now verboten? This
28 long to include, but seems relevant.
29 A snippet "grouping beats" hasn't yet appeared (only sent to vv a
31 days ago). Text left in Snippets: with TODO.
37 @lilypondfile[quote]{rhythms-headword.ly}
39 This section discusses rhythms, rests, durations, beaming and bars.
44 * Displaying rhythms::
47 * Special rhythmic concerns::
52 @subsection Writing rhythms
62 @subsubsection Durations
64 @cindex durations, of notes
65 @cindex note durations
71 Durations are designated by numbers and dots.
72 Durations are entered as their reciprocal values. For example, a
73 quarter note is entered using a @code{4} (since it is a 1/4 note),
74 and a half note is entered using a @code{2} (since it is a 1/2
75 note). For notes longer than a whole you must use the
76 @code{\longa} (a double breve) and @code{\breve} commands.
77 Durations as short as 64th notes may be specified. Shorter values
78 are possible, but only as beamed notes.
80 @c Two 64th notes are needed to obtain beams
81 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
88 Here are the same durations with automatic beaming turned off.
90 @c not strictly "writing rhythms"; more of a "displaying" thing,
91 @c but it's ok here. -gp
92 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
99 A note with the duration of a quadruple breve may be entered with
100 @code{\maxima}, but this is supported only within ancient music
101 notation. For details, see @ref{Ancient notation}.
103 If the duration is omitted, it is set to the previously
104 entered duration. The default for the first note is a quarter
107 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
111 @cindex notes, dotted
116 To obtain dotted note lengths, place a dot (@code{.}) after the
117 duration. Double-dotted notes are specified by appending two
120 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
121 a4 b c4. b8 a4. b4.. c8.
124 Some durations cannot be represented with just binary durations
125 and dots; they can be represented only by tying two or more
126 notes together. For details, see @ref{Ties}.
128 For ways of specifying durations for the syllables of lyrics and
129 ways of aligning lyrics to notes, see @ref{Vocal music}.
131 Optionally, notes can be spaced strictly proportionately to their
132 duration. For details of this and other settings which control
133 proportional notation, see @ref{Proportional notation}.
137 @funindex \dotsNeutral
139 Dots are normally moved up to avoid staff lines, except in
140 polyphonic situations. Predefined commands are available to
141 force a particular direction manually, for details
142 see @ref{Direction and placement}.
158 @rglos{Duration names notes and rests}.
161 @ref{Automatic beams},
163 @ref{Writing rhythms},
166 @ref{Ancient notation},
167 @ref{Proportional notation}.
174 @rinternals{DotColumn}.
179 @c Deliberately duplicated in Durations and Rests. -gp
180 There is no fundamental limit to rest durations (both in terms of
181 longest and shortest), but the number of glyphs is limited:
182 rests from 128th to maxima (8 x whole) may be printed.
186 @subsubsection Tuplets
192 Tuplets are made from a music expression by multiplying all the
193 durations with a fraction:
196 \times @var{fraction} @{ @var{music} @}
200 The duration of @var{music} will be multiplied by the
201 fraction. The fraction's denominator will be printed over or
202 under the notes, optionally with a bracket. The most common
203 tuplet is the triplet in which 3 notes have the duration of 2, so
204 the notes are 2/3 of their written length.
206 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
207 a2 \times 2/3 { b4 b b }
208 c4 c \times 2/3 { b4 a g }
212 @funindex \tupletDown
213 @funindex \tupletNeutral
215 The automatic placement of the tuplet bracket above or below the
216 notes may be overridden manually with predefined commands, for
217 details see @ref{Direction and placement}.
219 Tuplets may be nested:
221 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
223 c4 \times 4/5 { f8 e f \times 2/3 { e[ f g] } } f4 |
226 Modifying nested tuplets which begin at the same musical moment
227 must be done with @code{\tweak}.
229 To modify the duration of notes without printing a tuplet bracket,
230 see @ref{Scaling durations}.
236 @code{\tupletNeutral}.
241 @cindex tuplet formatting
242 @cindex triplet formatting
244 @funindex tupletNumberFormatFunction
245 @funindex tupletSpannerDuration
247 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
248 {entering-several-tuplets-using-only-one--times-command.ly}
250 @funindex TupletNumber
252 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
253 {changing-the-tuplet-number.ly}
255 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
256 {permitting-line-breaks-within-beamed-tuplets.ly}
265 Learning Manual: @rlearning{Tweaking methods}.
268 @ref{Time administration},
269 @ref{Scaling durations},
270 @ref{The tweak command},
271 @ref{Polymetric notation}.
277 @rinternals{TupletBracket},
278 @rinternals{TupletNumber},
279 @rinternals{TimeScaledMusic}.
282 @cindex grace notes within tuplet brackets
283 When the first note on a staff is a grace note followed by a
284 tuplet the grace note must be placed before the @code{\times}
285 command to avoid errors. Anywhere else, grace notes may be
286 placed within tuplet brackets.
289 @node Scaling durations
290 @subsubsection Scaling durations
292 @cindex scaling durations
293 @cindex durations, scaling
295 You can alter the duration of single notes, rests or chords by a
296 fraction @code{N/M} by appending @code{*N/M} (or @code{*N} if
297 @code{M} is 1) to the duration.
298 This will not affect the appearance of the notes or rests
299 produced, but the altered duration will be used in calculating the
300 position within the measure and setting the duration in the MIDI
301 output. Multiplying factors may be combined such as @code{*L*M/N}.
303 In the following example, the first three notes take up exactly
304 two beats, but no triplet bracket is printed.
306 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
308 % Alter durations to triplets
309 a4*2/3 gis4*2/3 a4*2/3
312 % Double the duration of chord
314 % Duration of quarter, appears like sixteenth
318 The duration of skip or spacing notes may also be modified by
319 a multiplier. This is useful for skipping many measures, e.g.,
322 @cindex compressing music
323 @funindex \scaleDurations
325 Longer stretches of music may be compressed by a fraction in the
326 same way, as if every note, chord or rest had the fraction as a
327 multiplier. This leaves the appearance of the music unchanged but
328 the internal duration of the notes will be multiplied by the
329 fraction @emph{num}/@emph{den}. The spaces around the dot are
330 required. Here is an example showing how music can be compressed
333 @lilypond[quote,fragment,relative=2,ragged-right,verbatim]
337 % Scale music by *2/3
338 \scaleDurations #'(2 . 3) {
342 \scaleDurations #'(2 . 1) {
348 One application of this command is in polymetric
349 notation, see @ref{Polymetric notation}.
356 @ref{Invisible rests},
357 @ref{Polymetric notation}.
369 A tie connects two adjacent note heads of the same pitch. The tie
370 in effect extends the duration of a note.
372 @warning{Ties should not be confused with @emph{slurs}, which
373 indicate articulation, or @emph{phrasing slurs}, which indicate
374 musical phrasing. A tie is just a way of extending a note
375 duration, similar to the augmentation dot.}
377 A tie is entered using the tilde symbol @code{~}
379 @lilypond[quote,ragged-right,fragment,verbatim]
385 Ties are used either when the note crosses a bar line, or when
386 dots cannot be used to denote the rhythm. Ties should also be
387 used when note values cross larger subdivisions of the measure:
389 @lilypond[fragment,quote,ragged-right]
396 If you need to tie many notes across bar lines, it may be
397 easier to use automatic note splitting, see @ref{Automatic note
398 splitting}. This mechanism automatically splits long notes, and
399 ties them across bar lines.
401 @cindex ties and chords
402 @cindex chords and ties
404 When a tie is applied to a chord, all note heads whose pitches
405 match are connected. When no note heads match, no ties will be
406 created. Chords may be partially tied by placing the tie inside
409 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
411 <c~ e g~ b> <c e g b>
415 @cindex repeating ties
416 @cindex ties, repeating
417 @cindex volta brackets and ties
418 @cindex ties and volta brackets
420 When a second alternative of a repeat starts with a tied note, you
421 have to specify the repeated tie as follows:
423 @lilypond[fragment,quote,ragged-right,relative=2,verbatim]
424 \repeat volta 2 { c g <c e>2 ~ }
426 % First alternative: following note is tied normally
428 % Second alternative: following note has a repeated tie
429 { <c e>2\repeatTie d4 c } }
432 @cindex laissez vibrer
433 @cindex ties, laissez vibrer
434 @funindex \laissezVibrer
436 @notation{L.v.} ties (@notation{laissez vibrer}) indicate that
437 notes must not be damped at the end. It is used in notation for
438 piano, harp and other string and percussion instruments. They can
439 be entered as follows:
441 @lilypond[fragment,quote,ragged-right,verbatim,relative=1]
442 <c f g>1\laissezVibrer
445 @cindex ties, placement
448 @funindex \tieNeutral
450 The vertical placement of ties may be controlled, see
451 Predefined commands, or for details, see
452 @ref{Direction and placement}.
454 @cindex ties, appearance
459 Solid, dotted or dashed ties may be specified, see Predefined
475 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
476 {using-ties-with-arpeggios.ly}
478 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
479 {engraving-ties-manually.ly}
486 @rglos{laissez vibrer}.
488 Notation Reference: @ref{Automatic note splitting}.
494 @rinternals{LaissezVibrerTie},
495 @rinternals{LaissezVibrerTieColumn},
496 @rinternals{TieColumn},
502 Switching staves when a tie is active will not produce a slanted
505 Changing clefs or octavations during a tie is not really
506 well-defined. In these cases, a slur may be preferable.
513 @subsection Writing rests
515 Rests are entered as part of the music in music expressions.
520 * Full measure rests::
526 @cindex rest, entering durations
537 Rests are entered like notes with the note name @code{r}.
538 Durations longer than a whole rest use the predefined
541 @c \time 16/1 is used to avoid spurious bar lines
542 @c and long tracts of empty measures
543 @lilypond[fragment,quote,ragged-right,verbatim]
545 % These two lines are just to prettify this example
547 \override Staff.TimeSignature #'stencil = ##f
548 % Print a maxima rest, equal to four breves
550 % Print a longa rest, equal to two breves
554 r1 r2 r4 r8 r16 r32 r64 r128
558 @cindex rest, multi-measure
559 @cindex rest, whole-measure
561 Whole measure rests, centered in the middle of the measure, must be
562 entered as multi-measure rests. They can be used for a single
563 measure as well as many measures and are discussed in @ref{Full
566 @cindex rest, specifying vertical position
568 To explicitly specify a rest's vertical position, write a note
569 followed by @code{\rest}. A rest of the duration of the note will
570 be placed at the staff position where the note would appear. This
571 allows for precise manual formatting of polyphonic music, since the
572 automatic rest collision formatter will not move these rests.
574 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
580 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
587 @ref{Full measure rests}.
598 @c Deliberately duplicated in Durations and Rests. -gp
599 There is no fundamental limit to rest durations (both in terms of
600 longest and shortest), but the number of glyphs is limited: there
601 are rests from 128th to maxima (8 x whole).
604 @node Invisible rests
605 @subsubsection Invisible rests
608 @cindex invisible rest
609 @cindex rest, invisible
614 An invisible rest (also called a @q{spacer rest}) can be entered
615 like a note with the note name@tie{}@code{s}:
617 @lilypond[verbatim,quote,relative=2]
624 Spacer rests are available only in note mode and chord mode. In
625 other situations, for example, when entering lyrics, @code{\skip}
626 is used to skip a musical moment. @code{\skip} requires an
629 @lilypond[quote,ragged-right,verbatim,relative=2]
642 A spacer rest implicitly causes @code{Staff} and @code{Voice}
643 contexts to be created if none exist, just like notes and rests
646 @lilypond[quote,verbatim,fragment]
650 @code{\skip} simply skips musical time; it creates no output of
653 @lilypond[quote,verbatim,fragment]
654 % This is valid input, but does nothing
655 \skip 1 \skip1 \skip 1
663 Internals Reference: @rinternals{SkipMusic}
666 @node Full measure rests
667 @subsubsection Full measure rests
669 @cindex multi-measure rests
670 @cindex full-measure rests
671 @cindex rest, multi-measure
672 @cindex rest, full-measure
673 @cindex whole rest for a full measure
676 Rests for one or more full measures are entered like notes with
677 the note name uppercase @code{R}:
679 @lilypond[quote,fragment,verbatim,relative=2]
680 % Rest measures contracted to single measure
681 \compressFullBarRests
688 The duration of full-measure rests is identical to the duration notation
689 used for notes. The duration in a multi-measure rest must always be an
690 integral number of measure-lengths, so augmentation
691 dots or fractions must often be used:
693 @lilypond[quote,ragged-right,fragment,verbatim]
694 \compressFullBarRests
700 R1*13/8 | R1*13/8*12 |
705 A full-measure rest is printed as either a whole
706 or breve rest, centered in the measure, depending on the time
709 @lilypond[quote,ragged-right,fragment,verbatim]
717 @funindex \expandFullBarRests
718 @funindex \compressFullBarRests
719 @cindex multi-measure rest, expanding
720 @cindex multi-measure rest, contracting
722 By default a multi-measure rest is expanded in the printed score
723 to show all the rest measures explicitly.
724 Alternatively, a mult-measure rest can be shown as a single measure
725 containing a multi-measure rest symbol, with the number of measures of rest
726 printed above the measure:
728 @lilypond[quote,ragged-right,fragment,verbatim]
730 \time 3/4 r2. | R2.*2 |
733 % Rest measures contracted to single measure
734 \compressFullBarRests
736 % Rest measures expanded
743 @cindex text on multi-measure rest
744 @cindex multi-measure rest, attaching text
745 @cindex script on multi-measure rest
746 @cindex multi-measure rest, script
747 @cindex fermata on multi-measure rest
748 @cindex multi-measure rest, attaching fermata
750 Markups can be added to multi-measure rests.
751 The predefined command @code{\fermataMarkup}
752 is provided for adding fermatas.
754 @lilypond[quote,ragged-right,verbatim,fragment]
755 \compressFullBarRests
757 R2.*10^\markup { \italic "ad lib." }
762 Markups attached to a multi-measure rest are
763 objects of type @code{MultiMeasureRestText}, not
764 @code{TextScript}. Overrides must be directed to the correct
765 object, or they will be ignored. See the following example.
768 @lilypond[quote,ragged-right,verbatim,fragment]
769 % This fails, as the wrong object name is specified
770 \override TextScript #'padding = #5
772 % This is correct and works
773 \override MultiMeasureRestText #'padding = #5
777 When a multi-measure rest immediately follows a @code{\partial}
778 setting, resulting bar-check warnings may not be displayed.
781 @code{\textLengthOn},
782 @code{\textLengthOff},
783 @code{\fermataMarkup},
784 @code{\compressFullBarRests},
785 @code{\expandFullBarRests}.
791 @cindex kirchenpausen
793 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
794 {changing-form-of-multi--measure-rests.ly}
796 @cindex multi-measure rests, positioning
797 @cindex positioning multi-measure rests
799 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
800 {positioning-multi--measure-rests.ly}
802 @c TODO -- convert to snippet
803 Markups attached to a multi-measure rest will be centered above or
804 below it. Long markups attached to multi-measure rests do not cause
805 the measure to expand. To expand a multi-measure rest to fit the markup,
806 use a spacer rest with an attached markup before the multi-measure rest:
808 @c -- music is somewhat compressed vertically. I thought it
809 @c was good because the emphasis is not on the content
810 @c of the markup, but on the place the markup was attached -cs
811 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
812 \compressFullBarRests
814 s1*0^\markup { [MAJOR GENERAL] }
816 s1*0_\markup { \italic { Cue: ... it is yours } }
818 R1*30^\markup { [MABEL] }
820 c4^\markup { CHORUS } d f c
824 Note that the spacer rest causes a bar to be inserted.
825 Text attached to a spacer rest in this way is left-aligned to the
826 position where the note would be placed in the measure, but if the
827 measure length is determined by the length of the text, the text will
828 appear to be centered.
833 @rglos{multi-measure rest}.
838 @ref{Formatting text},
845 @rinternals{MultiMeasureRest},
846 @rinternals{MultiMeasureRestNumber},
847 @rinternals{MultiMeasureRestText}.
852 If an attempt is made to use fingerings (e.g.,
853 @code{R1*10-4}) to put numbers over multi-measure rests, the
854 fingering numeral (4) may collide with the bar counter
857 @cindex condensing rests
858 @cindex rest, condensing ordinary
860 There is no way to automatically condense multiple ordinary rests
861 into a single multi-measure rest.
863 @cindex rest, collisions of
865 Multi-measure rests do not take part in rest collisions.
867 @node Displaying rhythms
868 @subsection Displaying rhythms
874 * Polymetric notation::
875 * Automatic note splitting::
876 * Showing melody rhythms::
880 @subsubsection Time signature
882 @cindex time signature
886 The time signature is set as follows:
888 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
893 @cindex Time signature, visibility of
895 Time signatures are printed at the beginning of a piece
896 and whenever the time signature changes. If a change takes place
897 at the end of a line a warning time signature sign is printed
898 there. This default behavior may be changed, see
899 @ref{Controlling visibility of objects}.
901 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
911 @funindex \numericTimeSignature
912 @funindex \defaultTimeSignature
913 @cindex time signature style
915 The time signature symbol that is used in 2/2 and 4/4 time can be
916 changed to a numeric style:
918 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
922 % Change to numeric style
923 \numericTimeSignature
926 % Revert to default style
927 \defaultTimeSignature
933 Ancient time signatures are covered in
934 @ref{Ancient time signatures}.
938 @code{\numericTimeSignature},
939 @code{\defaultTimeSignature}.
943 @c TODO Send as snippet called "setting measure and beat lengths"
944 @c when example is added
945 @code{\time} sets the properties @code{timeSignatureFraction},
946 @code{beatLength}, and @code{measureLength} in the @code{Timing}
947 context, which is normally aliased to @code{Score}. Changing the
948 value of @code{timeSignatureFraction} causes the new time
949 signature symbol to be printed without changing the other
950 properties. The property @code{measureLength} determines where
951 bar lines should be inserted and, with @code{beatLength}, how
952 automatic beams should be generated.
954 TODO Add example of using beatLength.
955 @c beatLength is broken - see bug 511
959 @cindex measure groupings
960 @cindex beats, grouping
961 @cindex grouping beats
962 @cindex measure sub-grouping
964 @c TODO Sent as snippet called "grouping beats" 25 Mar 08
965 Options to group beats within a bar are available through the
966 Scheme function @code{set-time-signature}, which takes three
967 arguments: the number of beats, the beat length, and the internal
968 grouping of beats in the measure. If the
969 @rinternals{Measure_grouping_engraver} is included, the function
970 will also create @rinternals{MeasureGrouping} signs. Such signs
971 ease reading rhythmically complex modern music. In the example,
972 the 9/8 measure is subdivided in 2, 2, 2 and 3. This is passed to
973 @code{set-time-signature} as the third argument: @code{'(2 2 2 3)}:
975 @lilypond[quote,ragged-right,verbatim]
978 #(set-time-signature 9 8 '(2 2 2 3))
979 g8[ g] d[ d] g[ g] a8[( bes g]) |
980 #(set-time-signature 5 8 '(3 2))
986 \consists "Measure_grouping_engraver"
991 @c TODO End of snippet called "grouping beats"
993 @cindex compound time signatures
994 @cindex time signature, compound
996 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
997 {compound-time-signatures.ly}
1003 @rglos{time signature}
1006 @ref{Ancient time signatures},
1007 @ref{Time administration}.
1012 Internals Reference:
1013 @rinternals{TimeSignature},
1014 @rinternals{Timing_translator}.
1019 Automatic beaming does not use the measure grouping specified with
1020 @code{set-time-signature}.
1024 @subsubsection Upbeats
1028 @cindex partial measure
1029 @cindex measure, partial
1030 @cindex pickup measure
1031 @cindex measure, change length
1032 @cindex measurePosition
1035 Partial or pick-up measures, such as an anacrusis or upbeat, are
1036 entered using the @code{\partial} command, with the syntax
1039 \partial @var{duration}
1042 where @code{duration} is the rhythmic length of the interval
1043 before the start of the first complete measure:
1045 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1050 The partial measure can be any duration less than a full measure:
1052 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1053 \partial 8*3 c8 d e |
1057 Internally, this is translated into
1060 \set Timing.measurePosition = -@var{duration}
1063 The property @code{measurePosition} contains a rational number
1064 indicating how much of the measure has passed at this point. Note
1065 that this is set to a negative number by the @code{\partial}
1066 command: i.e., @code{\partial 4} is internally translated to
1067 @code{-4}, meaning @qq{there is a quarter note left in the measure.}
1071 Music Glossary: @rglos{anacrusis}
1073 Notation Reference: @ref{Grace notes}
1079 @rinternals{Timing_translator}
1083 @cindex grace notes, in anacruses
1085 This command does not take into account grace notes at the start
1086 of the music. If the pick-up starts with one or more grace
1087 notes, then the @code{\partial} should follow the grace note(s):
1089 @lilypond[verbatim,quote,ragged-right,relative,fragment]
1096 The @code{\partial} command is intended to be used only at the
1097 beginning of a piece. If you use it after the beginning, some
1098 odd warnings may occur.
1100 @node Unmetered music
1101 @subsubsection Unmetered music
1103 @funindex \cadenzaOn
1104 @funindex \cadenzaOff
1105 @cindex bar lines, turning off
1106 @cindex bar numbering, turning off
1108 @cindex unmetered music
1110 Bar lines and bar numbers are calculated automatically. For
1111 unmetered music (cadenzas, for example), this is not desirable.
1112 To turn off automatic calculation of bar lines and bar numbers,
1113 use the command @code{\cadenzaOn}, and use @code{\cadenzaOff}
1114 to turn them on again.
1116 @lilypond[verbatim,quote,ragged-right,relative=2,fragment]
1125 Bar numbering is resumed at the end of the cadenza as if the
1126 cadenza were not there:
1128 @lilypond[verbatim,quote,ragged-right,relative=2,fragment]
1129 % Show all bar numbers
1130 \override Score.BarNumber #'break-visibility = #all-visible
1150 @ref{Controlling visibility of objects}
1157 LilyPond will insert line breaks and page breaks only at a
1158 bar line. Unless the unmetered music ends before the end of the
1159 staff line, you will need to insert invisible bar lines with
1166 to indicate where breaks can occur.
1169 @node Polymetric notation
1170 @subsubsection Polymetric notation
1172 @cindex double time signatures
1173 @cindex signatures, polymetric
1174 @cindex polymetric signatures
1175 @cindex meter, polymetric
1177 Polymetric notation is supported, either explicitly or through
1178 clever use of markup features.
1180 @c Each of these examples uses \set or \override, and therefore
1181 @c by policy should be converted to a snippet.
1182 @c Do we want to have a section with a very brief (two-line
1183 @c introduction, and have most of the content be in snippets?
1185 @strong{Alternating time signatures}
1187 Regularly alternating double time signatures are not supported
1188 explicitly, but they can be faked. In the next example, the
1189 double time signature is created with markup text, while the
1190 real time signature is set in the usual way with @code{\time}.
1192 @lilypond[verbatim,ragged-right]
1193 % Create 9/8 split into 2/4 + 5/8
1194 tsMarkup = \markup {
1195 \override #'(baseline-skip . 2) \number {
1198 \bracket \column { "5" "8" }
1203 \override Staff.TimeSignature #'stencil =
1204 #ly:text-interface::print
1205 \override Staff.TimeSignature #'text = #tsMarkup
1207 c'2 \bar ":" c'4 c'4.
1208 c'2 \bar ":" c'4 c'4.
1212 @strong{Staves with different time signatures, equal measure lengths}
1214 This notation can be created by setting a common time signature
1215 for each staff but replacing the symbol manually by setting
1216 @code{timeSignatureFraction} to the desired fraction and scaling
1217 the printed durations in each staff to the common time
1218 signature. This is done with @code{\scaleDurations}, which
1219 is used in a similar way to @code{\times}, but does not create
1220 a tuplet bracket, see @ref{Scaling durations}.
1222 In this example, music with the time signatures of 3/4, 9/8, and
1223 10/8 are used in parallel. In the second staff, shown durations
1224 are multiplied by 2/3, as 2/3 * 9/8 = 3/4, and in the third
1225 staff, shown durations are multiplied by 3/5, as 3/5 * 10/8 = 3/4.
1227 @lilypond[quote,ragged-right,verbatim,fragment]
1236 \set Staff.timeSignatureFraction = #'(9 . 8)
1237 \scaleDurations #'(2 . 3)
1238 \repeat unfold 6 { c8[ c c] }
1242 \set Staff.timeSignatureFraction = #'(10 . 8)
1243 \scaleDurations #'(3 . 5) {
1244 \repeat unfold 2 { c8[ c c] }
1245 \repeat unfold 2 { c8[ c] } |
1246 c4. c4. \times 2/3 { c8 c c } c4
1252 @c I guess this example doesn't use \set or \override, and so
1253 @c could stay in the manual.
1255 @strong{Staves with different time signatures, unequal bar lengths}
1257 Each staff can be given its own independent time signature by
1258 moving the @code{Timing_translator} to the @code{Staff} context.
1260 @lilypond[quote,verbatim,ragged-right]
1264 \remove "Timing_translator"
1265 \remove "Default_bar_line_engraver"
1269 \consists "Timing_translator"
1270 \consists "Default_bar_line_engraver"
1274 % Now each staff has its own time signature.
1303 @rglos{polymetric time signature},
1306 Notation Reference: @ref{Scaling durations}
1310 @c Is this still permitted?
1311 @c @lsr{contemporary,compound-time-signature}
1313 Internals Reference:
1314 @rinternals{TimeSignature},
1315 @rinternals{Timing_translator},
1320 When using different time signatures in parallel, notes
1321 at the same moment will be be placed at the same horizontal
1322 location. However, the bar lines in the different staves
1323 will cause the note spacing to be less regular in each of the
1324 individual staves than would be normal without the different
1327 @node Automatic note splitting
1328 @subsubsection Automatic note splitting
1330 @cindex notes, splitting
1331 @cindex splitting notes
1333 Long notes which overrun bar lines can be converted automatically
1334 to tied notes. This is done by replacing the
1335 @code{Note_heads_engraver} with the
1336 @code{Completion_heads_engraver}. In the following
1337 example, notes crossing the bar lines are split and tied.
1339 @lilypond[quote,fragment,verbatim,relative=1,ragged-right]
1341 \remove "Note_heads_engraver"
1342 \consists "Completion_heads_engraver"
1345 { c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 }
1348 This engraver splits all running notes at the bar line, and
1349 inserts ties. One of its uses is to debug complex scores: if the
1350 measures are not entirely filled, then the ties show exactly how
1351 much each measure is off.
1353 To allow line breaking on the bar lines where the
1354 @code{Completion_heads_engraver} has inserted a split note, remove
1355 the @code{Forbid_line_break_engraver} too.
1357 TODO -- find example that shows the above paragraph. I can't make
1358 the Forbid_line_break_engraver have any effect in my examples (cs).
1359 Does the Forbid_line_break_engraver still have the claimed effect?
1362 Music Glossary: @rglos{tie}
1365 @rlearning{Engravers explained},
1366 @rlearning{Adding and removing engravers}.
1371 Internals Reference:
1372 @rinternals{Note_heads_engraver},
1373 @rinternals{Completion_heads_engraver},
1374 @rinternals{Forbid_line_break_engraver}.
1379 Not all durations (especially those containing tuplets) can be
1380 represented exactly with normal notes and dots, but the
1381 @code{Completion_heads_engraver} will not insert tuplets.
1383 The @code{Completion_heads_engraver} only affects notes; it does not
1387 @node Showing melody rhythms
1388 @subsubsection Showing melody rhythms
1390 Sometimes you might want to show only the rhythm of a melody. This
1391 can be done with the rhythmic staff. All pitches of notes on such a
1392 staff are squashed, and the staff itself has a single line
1394 @c TODO Devise a more realistic example, perhaps with lyrics -td
1395 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1396 \new RhythmicStaff {
1398 c4 e8 f g2 | r4 g r2 | g1 | r1 |
1402 TODO -- put example in with multiple lines as well (used for strumming
1410 * Setting automatic beam behavior::
1415 @node Automatic beams
1416 @subsubsection Automatic beams
1418 By default, beams are inserted automatically:
1420 @cindex beams, manual
1421 @cindex manual beams
1423 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1425 \time 6/8 c c c c8. c16 c8
1428 If these automatic decisions are not satisfactory, beaming can be
1429 entered explicitly; see @ref{Manual beams}. It is also possible
1430 to define beaming patterns that differ from the defaults; see
1431 @ref{Setting automatic beam behavior}. The default beaming rules
1432 are defined in @file{scm/@/auto@/-beam@/.scm}.
1438 Automatic beaming may be turned off and on with
1439 @code{\autoBeamOff} and @code{\autoBeamOn} commands:
1441 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1442 c4 c8 c8. c16 c8. c16 c8
1452 @c TODO -- convert to snippet
1453 Beaming patterns may be altered with the @code{beatGrouping} property,
1455 @lilypond[quote,verbatim,relative=2,fragment,ragged-right]
1457 \set beatGrouping = #'(2 3)
1459 \set beatGrouping = #'(3 2)
1463 @c TODO convert to snippet
1464 The beams of consecutive 16th (or shorter) notes are, by default,
1465 not sub-divided. That is, the three (or more) beams stretch
1466 unbroken over entire groups of notes. This behavior can
1467 be modified to sub-divide the beams into sub-groups by setting
1468 the property @code{subdivideBeams}. When set, multiple beams
1469 will be sub-divided at intervals defined by the current value of
1470 @code{beatLength} by reducing the multiple beams to just one beam
1471 between the sub-groups. Note that @code{beatLength} lives in the
1472 @code{Score} context and defaults to a quarter note. It must be
1473 set to a fraction giving the duration of the beam sub-group
1474 using the @code{make-moment} function, as shown here:
1476 @lilypond[fragment,ragged-right,quote,relative=2,verbatim]
1478 \set subdivideBeams = ##t
1480 % Set beam sub-group length to an eighth note
1481 \set Score.beatLength = #(ly:make-moment 1 8)
1483 % Set beam sub-group length to a sixteenth note
1484 \set Score.beatLength = #(ly:make-moment 1 16)
1487 @funindex subdivideBeams
1490 For more information about @code{make-moment}, see
1491 @ref{Time administration}.
1497 @c TODO convert to snippet
1498 Line breaks are normally forbidden when beams cross bar lines.
1499 This behavior can be changed by setting the @code{breakable}
1500 property: @code{\override Beam #'breakable = ##t}.
1502 @lilypond[ragged-right,relative=2,fragment,verbatim,quote]
1503 \override Beam #'breakable = ##t
1504 c8 \repeat unfold 15 { c[ c] } c
1507 @cindex beams and line breaks
1508 @cindex beams, kneed
1510 @cindex auto-knee-gap
1512 @c TODO convert to snippet
1513 Kneed beams are inserted automatically when a large gap is
1514 detected between the note heads. This behavior can be tuned
1515 through the @code{auto-knee-gap} property. A kneed beam is
1516 drawn if the gap is larger than the value of
1517 @code{auto-knee-gap} plus the width of the beam object (which
1518 depends on the duration of the notes and the slope of the beam).
1519 By default @code{auto-knee-gap} is set to 5.5 staff spaces.
1521 @lilypond[fragment,ragged-right,quote,verbatim]
1523 \override Beam #'auto-knee-gap = #6
1530 Notation Reference: @ref{Manual beams}, @ref{Setting automatic beam behavior}.
1535 Internals Reference: @rinternals{Beam}.
1540 Automatically kneed cross-staff beams cannot be used together with
1541 hidden staves. See @ref{Hiding staves}.
1543 Beams can collide with note heads and accidentals in other voices
1546 @node Setting automatic beam behavior
1547 @subsubsection Setting automatic beam behavior
1549 @funindex autoBeamSettings
1550 @funindex (end * * * *)
1551 @funindex (begin * * * *)
1552 @cindex automatic beams, tuning
1553 @cindex tuning automatic beaming
1555 @c [TODO: use \applyContext]
1557 In normal time signatures, automatic beams can start on any note
1558 but can end in only a few positions within the measure: beams can
1559 end on a beat, or at durations specified by the properties in
1560 @code{autoBeamSettings}. The properties in
1561 @code{autoBeamSettings} consist of a list of rules for where beams
1562 can begin and end. The default @code{autoBeamSettings} rules are
1563 defined in @file{scm/@/auto@/-beam@/.scm}.
1565 In order to add a rule to the list, use
1567 #(override-auto-beam-setting
1568 '(beam-limit beam-numerator beam-denominator
1569 time-signature-numerator time-signature-denominator)
1570 moment-numerator moment-denominator [context])
1575 @item @code{beam-limit} is the type of automatic beam limit
1576 defined, either @code{begin} or @code{end}.
1578 @item @code{beam-numerator/beam-denominator} is the beam duration
1579 for which you want to add a rule. A beam is considered to have
1580 the duration of its shortest note. Set @code{beam-numerator} and
1581 @code{beam-denominator} to @code{'*'} to
1582 have this rule apply beams of any duration.
1584 @item @code{time-signature-numerator/time-signature-denominator}
1585 is the time signature to which
1586 this rule should apply. Set @code{time-signature-numerator} and
1587 @code{time-signature-denominator} to @code{'*'}
1588 to have this rule apply in any time signature.
1590 @item @code{monent-numerator/moment-denominator} is the position
1591 in the bar at which the beam should
1594 @item @code{context} is optional, and it specifies the context at which
1595 the change should be made. The default is @code{'Voice}.
1597 @code{#(score-override-auto-beam-setting '(A B C D) E F)} is equivalent to
1598 @code{#(override-auto-beam-setting '(A B C D) E F 'Score)}.
1602 TODO -- convert to music example
1603 For example, if automatic beams should always end on the first quarter
1607 #(override-auto-beam-setting '(end * * * *) 1 4)
1610 You can force the beam settings to only take effect on beams whose shortest
1611 note is a certain duration
1613 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1615 % end 1/16 beams for all time signatures at the 1/16 moment
1616 #(override-auto-beam-setting '(end 1 16 * *) 1 16)
1618 a32 a a a a16 a a a a a |
1619 % end 1/32 beams for all time signatures at the 1/16 moment
1620 #(override-auto-beam-setting '(end 1 32 * *) 1 16)
1621 a32 a a a a16 a a a a a |
1624 You can force the beam settings to only take effect in certain time
1627 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1629 % end beams of all durations in 5/8 time signature at the 2/8 moment
1630 #(override-auto-beam-setting '(end * * 5 8) 2 8)
1638 Existing auto-beam rules are removed by using
1641 #(revert-auto-beam-setting
1642 '(beam-limit beam-numerator beam-denominator
1643 time-signature-numerator time-signature-denominator)
1644 moment-numerator moment-denominator [context])
1648 @code{beam-limit}, @code{beam-numerator}, @code{beam-denominator},
1649 @code{time-signature-numerator}, @code{time-signature-denominator},
1650 @code{moment-numerator}, @code{moment-denominator} and @code{context}
1651 are the same as above. Note that the default auto-beaming rules are
1652 specified in @file{scm/@/auto@/-beam@/.scm},
1653 so you can revert rules that you did not explicitly create.
1655 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1657 a16 a a a a a a a a a a a a a a a
1658 % undo a rule ending 1/16 beams in 4/4 time at 1/4 moment
1659 #(revert-auto-beam-setting '(end 1 16 4 4) 1 4)
1660 a16 a a a a a a a a a a a a a a a
1663 The rule in a @code{revert-auto-beam-setting} statement must exactly
1664 match the original rule. That is, no wildcard expansion is taken into
1667 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1669 #(override-auto-beam-setting '(end 1 16 1 4) 1 8)
1671 #(revert-auto-beam-setting '(end 1 16 * *) 1 8) % this won't revert it!
1673 #(revert-auto-beam-setting '(end 1 16 1 4) 1 8) % this will
1679 @c TODO: old material -- not covered by above stuff, I think.
1680 If automatic beams should end on every quarter in 5/4 time, specify
1683 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
1684 #(override-auto-beam-setting '(end * * * *) 1 2 'Staff)
1685 #(override-auto-beam-setting '(end * * * *) 3 4 'Staff)
1686 #(override-auto-beam-setting '(end * * * *) 5 4 'Staff)
1690 The same syntax can be used to specify beam starting points. In this
1691 example, automatic beams can only end on a dotted quarter note
1693 #(override-auto-beam-setting '(end * * * *) 3 8)
1694 #(override-auto-beam-setting '(end * * * *) 1 2)
1695 #(override-auto-beam-setting '(end * * * *) 7 8)
1697 In 4/4 time signature, this means that automatic beams could end only on
1698 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1699 3/8, has passed within the measure).
1701 If any unexpected beam behavior occurs, check the default automatic beam
1702 settings in @file{scm/@/auto@/-beam@/.scm}
1703 for possible interference, because the beam
1704 endings defined there will still apply on top of your own overrides. Any
1705 unwanted endings in the default vales must be reverted for your time
1708 For example, to typeset @code{(3 4 3 2)}-beam endings in 12/8, begin
1712 %%% revert default values in scm/auto-beam.scm regarding 12/8 time
1713 #(revert-auto-beam-setting '(end * * 12 8) 3 8)
1714 #(revert-auto-beam-setting '(end * * 12 8) 3 4)
1715 #(revert-auto-beam-setting '(end * * 12 8) 9 8)
1718 #(override-auto-beam-setting '(end 1 8 12 8) 3 8)
1719 #(override-auto-beam-setting '(end 1 8 12 8) 7 8)
1720 #(override-auto-beam-setting '(end 1 8 12 8) 10 8)
1723 @cindex automatic beam generation
1725 @funindex autoBeaming
1728 If beams are used to indicate melismata in songs, then automatic
1729 beaming should be switched off with @code{\autoBeamOff}.
1734 @funindex \autoBeamOff
1735 @code{\autoBeamOff},
1736 @funindex \autoBeamOn
1742 If a score ends while an automatic beam has not been ended and is
1743 still accepting notes, this last beam will not be typeset at all.
1744 The same holds for polyphonic voices, entered with @code{<<
1745 @dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
1746 automatic beam is still accepting notes, it is not typeset.
1755 @subsubsection Manual beams
1757 @cindex beams, manual
1761 In some cases it may be necessary to override the automatic
1762 beaming algorithm. For example, the autobeamer will not put beams
1763 over rests or bar lines, and in choral scores the beaming is
1764 often set to follow the meter of the lyrics rather than the
1765 notes. Such beams can be specified manually by
1766 marking the begin and end point with @code{[} and @code{]}
1768 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1770 r4 r8[ g' a r8] r8 g[ | a] r8
1775 Individual notes may be marked with @code{\noBeam} to prevent them
1778 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1779 \time 2/4 c8 c\noBeam c c
1782 @funindex stemLeftBeamCount
1783 @funindex stemRightBeamCount
1785 Even more strict manual control with the beams can be achieved by
1786 setting the properties @code{stemLeftBeamCount} and
1787 @code{stemRightBeamCount}. They specify the number of beams to
1788 draw on the left and right side, respectively, of the next note.
1789 If either property is set, its value will be used only once, and
1790 then it is erased. In this example, the last @code{f} is printed
1791 with only one beam on the left side, i.e., the eighth-note beam of
1792 the group as a whole.
1794 TODO -- no difference based on stemLeftBeamCount in this example
1795 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1799 \set stemLeftBeamCount = #1
1807 @node Feathered beams
1808 @subsubsection Feathered beams
1810 @cindex beams, feathered
1811 @funindex \featherDurations
1813 TODO -- this section relies on overrides. We need to either add
1814 a predefined, move this to snippets (whole section), or violate
1815 policy for this section.
1817 Feathered beams are used to indicate that a small group of notes
1818 should be played at an increasing (or decreasing) tempo, without
1819 changing the overall tempo of the piece. The extent of the
1820 feathered beam must be indicated manually using @code{[} and
1821 @code{]}, and the beam feathering is turned on by specifying a
1822 direction to the @code{Beam} property @code{grow-direction}.
1824 If the placement of the notes and the sound in the MIDI output
1825 is to reflect the ritardando or accelerando indicated by the
1826 feathered beam the notes must be grouped as a
1827 music expression delimited by braces and preceded by a
1828 @code{featheredDurations} command which specifies the ratio
1829 between the durations of the first and last notes in the group.
1832 show the extent of the beam and the braces show
1833 which notes are to have their durations modified. Normally
1834 these would delimit the same group of notes, but this is not
1835 required: the two commands are independent.
1837 @c TODO -- eliminate "Talking through code"
1839 In the following example the eight 16th notes occupy exactly the
1840 same time as a half note, but the first note is one half as long
1841 as the last one, with the intermediate notes gradually
1842 lengthening. The first four 32nd notes gradually speed up, while
1843 the last four 32nd notes are at a constant tempo.
1845 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
1846 \override Beam #'grow-direction = #LEFT
1847 \featherDurations #(ly:make-moment 2 1)
1848 { c16[ c c c c c c c] }
1849 \override Beam #'grow-direction = #RIGHT
1850 \featherDurations #(ly:make-moment 2 3)
1852 % revert to non-feathered beams
1853 \override Beam #'grow-direction = #'()
1858 The spacing in the printed output represents the
1859 note durations only approximately, but the midi output is exact.
1861 @c TODO -- resolve whether or not midi is capitalized -- policy
1866 The @code{\featherDurations} command only works with very short
1867 music snippets, and when numbers in the fraction are small.
1883 * Bar and bar number checks::
1888 @subsubsection Bar lines
1892 @cindex measure lines
1895 Bar lines delimit measures, and are also used to indicate
1896 repeats. Normally, simple bar lines are automatically inserted
1897 into the printed output at places based on the current time
1900 The simple bar lines inserted automatically can be changed to
1901 other types with the @code{\bar} command. For example, a closing
1902 double bar line is usually placed at the end of a piece:
1904 @lilypond[quote,ragged-right,relative=1,fragment,verbatim]
1908 @c TODO -- make this warning more clear. What does it mean?
1909 @warning{An incorrect duration can lead to poorly formatted
1912 @c TODO -- check this. I think this behavior no longer happens
1913 @c with completion_heads_engraver, but it may with note_heads_engraver
1914 @c Make an example showing the problem
1916 It is not invalid if the final note in a measure does not
1917 end on the automatically entered bar line: the note is assumed
1918 to carry over into the next measure. But if a long sequence
1919 of such carry-over measures appears the music can appear compressed
1920 or even flowing off the page. This is because automatic line
1921 breaks happen only at the end of complete measures, i.e., where
1922 the end of a note coincides with the end of a measure.
1925 @cindex bar lines, invisible
1926 @cindex measure lines, invisible
1928 Line breaks are also permitted at manually inserted bar lines
1929 even within incomplete measures. To allow a line break without
1930 printing a bar line, use
1937 This will insert an invisible bar line and allow (but not
1938 force) a line break to occur at this point. The bar number
1939 counter is not increased. To force a line break see
1940 @ref{Line breaking}.
1942 This and other special bar lines may be inserted manually at any
1943 point. When they coincide with the end of a measure they replace
1944 the simple bar line which would have been inserted there
1945 automatically. When they do not coincide
1946 with the end of a measure the specified bar line is inserted at that
1947 point in the printed output. Such insertions do not affect
1948 the calculation and placement of subsequent automatic bar lines.
1950 The simple bar line and four types of double bar line are available
1951 for manual insertion:
1953 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1954 f1 \bar "|" g \bar "||" a \bar ".|" b \bar ".|." c \bar "|." d
1958 together with dotted and dashed bar lines:
1960 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1961 f1 \bar ":" g \bar "dashed" a
1965 and three types of repeat bar line:
1967 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1968 f1 \bar "|:" g \bar ":|:" a \bar ":|" b
1973 Although the bar line types signifying repeats may be inserted
1974 manually they do not in themselves cause LilyPond to recognize
1975 a repeated section. Such repeated sections are better entered
1976 using the various repeat commands (see @ref{Repeats}), which
1977 automatically print the appropriate bar lines.
1979 In addition, you can specify @code{"||:"}, which is equivalent to
1980 @code{"|:"} except at line breaks, where it gives a double bar
1981 line at the end of the line and a start repeat at the beginning of
1984 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
1985 \override Score.RehearsalMark #'padding = #3
1993 In scores with many staves, a @code{\bar} command in one staff is
1994 automatically applied to all staves. The resulting bar lines are
1995 connected between different staves of a @code{StaffGroup},
1996 @code{InnerStaffGroup}, @code{PianoStaff}, or @code{GrandStaff}.
1998 @lilypond[quote,ragged-right,fragment,verbatim]
2006 \new Staff { \clef bass c4 g e g }
2008 \new Staff { \clef bass c2 c2 }
2016 @funindex defaultBarType
2018 The command @code{\bar }@var{bartype} is a shortcut for
2019 @code{\set Timing.whichBar = }@var{bartype}. A bar line is
2020 created whenever the @code{whichBar} property is
2023 The default bar type used for automatically inserted bar lines is
2024 @code{"|"}. This may be changed at any time
2025 with @code{\set Timing.defaultBarType = }@var{bartype}.
2029 Notation Reference: @ref{Line breaking}, @ref{Repeats},
2030 @c FIXME: node name changed, but is subject to further changes.
2031 @c @ref{System start delimiters}.
2036 Internals Reference: @rinternals{BarLine} (created at
2037 @rinternals{Staff} level), @rinternals{SpanBar} (across
2038 staves), @rinternals{Timing_translator} (for Timing
2043 @subsubsection Bar numbers
2046 @cindex measure numbers
2047 @funindex currentBarNumber
2049 Bar numbers are typeset by default at the start of every line except
2050 the first line. The number itself is stored in the
2051 @code{currentBarNumber} property, which is normally updated
2052 automatically for every measure. It may also be set manually:
2054 @lilypond[verbatim,ragged-right,quote,fragment,relative]
2057 \set Score.currentBarNumber = #50
2064 @funindex barNumberVisibility
2065 @cindex bar numbers, regular spacing
2067 Bar numbers can be typeset at regular intervals instead of just at
2068 the beginning of every line. To do this the default behavior
2069 must be overridden to permit bar numbers to be printed at places
2070 other than the start of a line. This is controlled by the
2071 @code{break-visibility} property of @code{BarNumber}. This takes
2072 three values which may be set to @code{#t} or @code{#f} to specify
2073 whether the corresponding bar number is visible or not. The order
2074 of the three values is @code{end of line visible}, @code{middle of
2075 line visible}, @code{beginning of line visible}. In the following
2076 example bar numbers are printed at all possible places:
2078 @lilypond[verbatim,ragged-right,quote,fragment,relative]
2079 \override Score.BarNumber #'break-visibility = #'#(#t #t #t)
2080 \set Score.currentBarNumber = #11
2081 \bar "" % Permit first bar number to be printed
2087 @c All the rest of these examples will be added to LSR
2088 @c and moved into the Snippets. -gp
2091 and here the bar numbers are printed every two measures
2092 except at the end of the line:
2094 @lilypond[verbatim,ragged-right,quote,fragment,relative]
2095 \override Score.BarNumber #'break-visibility = #'#(#f #t #t)
2096 \set Score.currentBarNumber = #11
2097 \bar "" % Permit first bar number to be printed
2098 % Print a bar number every second measure
2099 \set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
2105 @cindex measure number, format
2106 @cindex bar number, format
2108 The size of the bar number may be changed. This is illustrated
2109 in the following example, which also shows how to enclose bar
2110 numbers in boxes and circles, and shows an alternative way
2111 of specifying @code{#(#f #t #t)} for @code{break-visibility}.
2113 @lilypond[verbatim,ragged-right,quote,fragment,relative]
2114 % Prevent bar numbers at the end of a line and permit them elsewhere
2115 \override Score.BarNumber #'break-visibility
2116 = #end-of-line-invisible
2118 % Increase the size of the bar number by 2
2119 \override Score.BarNumber #'font-size = #2
2120 \repeat unfold 3 { c1 } \bar "|"
2122 % Draw a box round the following bar number(s)
2123 \override Score.BarNumber #'stencil
2124 = #(make-stencil-boxer 0.1 0.25 ly:text-interface::print)
2125 \repeat unfold 3 { c1 } \bar "|"
2127 % Draw a circle round the following bar number(s)
2128 \override Score.BarNumber #'stencil
2129 = #(make-stencil-circler 0.1 0.25 ly:text-interface::print)
2130 \repeat unfold 4 { c1 } \bar "|."
2133 @cindex bar number alignment
2135 Bar numbers by default are left-aligned to their parent object.
2136 This is usually the left edge of a line or, if numbers are printed
2137 within a line, the left bar line of the measure. The numbers may also
2138 be positioned directly on the bar line or right-aligned to the
2141 @lilypond[verbatim,ragged-right,quote,fragment,relative]
2142 \set Score.currentBarNumber = #111
2143 \override Score.BarNumber #'break-visibility = #'#(#t #t #t)
2144 % Increase the size of the bar number by 2
2145 \override Score.BarNumber #'font-size = #2
2146 % Print a bar number every second measure
2147 \set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
2149 % Center-align bar numbers
2150 \override Score.BarNumber #'self-alignment-X = #0
2152 % Right-align bar numbers
2153 \override Score.BarNumber #'self-alignment-X = #-1
2157 Bar numbers can be removed entirely by removing the
2158 @code{Bar_number_engraver} from the @code{Score} context.
2160 @lilypond[verbatim,ragged-right,quote]
2164 \remove "Bar_number_engraver"
2179 Internals Reference: @rinternals{BarNumber}.
2184 Bar numbers may collide with the top of the
2185 @rinternals{StaffGroup} bracket, if there is one. To solve
2186 this, the @code{padding} property of @rinternals{BarNumber} can
2187 be used to position the number correctly.
2189 Bar numbers may only be printed at bar lines; to print a bar
2190 number at the beginning of a piece, an empty bar line must be
2191 inserted there, and a value other than @code{1} must be placed
2192 in @code{currentBarNumber}:
2194 @lilypond[verbatim,ragged-right,quote,fragment,relative]
2195 \set Score.currentBarNumber = #50
2204 @node Bar and bar number checks
2205 @subsubsection Bar and bar number checks
2208 @funindex barCheckSynchronize
2211 Bar checks help detect errors in the entered durations.
2212 A bar check may be entered using the bar symbol, @code{|},
2213 at any place where a bar line is expected to fall.
2214 If bar check lines are encountered at other places,
2215 a list of warnings is printed in the log file,
2216 showing the line numbers and lines
2217 in which the bar checks failed. In the next
2218 example, the second bar check will signal an error.
2221 \time 3/4 c2 e4 | g2 |
2224 Bar checks can also be used in lyrics, for example
2229 Twin -- kle | Twin -- kle |
2233 An incorrect duration can result in a completely garbled score,
2234 especially if the score is polyphonic, so a good place to start
2235 correcting input is by scanning for failed bar checks and
2236 incorrect durations.
2238 If successive bar checks are off by the same musical interval,
2239 only the first warning message is displayed. This allows the
2240 warning to focus on the source of the timing error.
2244 @funindex pipeSymbol
2246 It is also possible to redefine the action taken when a bar check
2247 or pipe symbol, @code{|}, is encountered in the input, so that
2248 it does something other than a bar check. This is done by
2249 assigning a music expression to @code{pipeSymbol}.
2250 In the following example @code{|} is set to insert a double bar
2251 line wherever it appears in the input, rather than checking
2254 @lilypond[quote,ragged-right,verbatim]
2255 pipeSymbol = \bar "||"
2264 When copying large pieces of music, it can be helpful to check
2265 that the LilyPond bar number corresponds to the original that you
2266 are entering from. This can be checked with
2267 @code{\barNumberCheck}, for example,
2270 \barNumberCheck #123
2274 will print a warning if the @code{currentBarNumber} is not 123
2275 when it is processed.
2283 @node Rehearsal marks
2284 @subsubsection Rehearsal marks
2286 @cindex rehearsal marks
2287 @cindex mark, rehearsal
2290 To print a rehearsal mark, use the @code{\mark} command
2292 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2301 The letter@tie{}@q{I} is skipped in accordance with engraving
2302 traditions. If you wish to include the letter @q{I}, then use
2305 \set Score.markFormatter = #format-mark-alphabet
2308 The mark is incremented automatically if you use @code{\mark
2309 \default}, but you can also use an integer argument to set the
2310 mark manually. The value to use is stored in the property
2311 @code{rehearsalMark}.
2313 @cindex rehearsal mark format
2314 @cindex rehearsal mark style
2315 @cindex style, rehearsal mark
2316 @cindex format, rehearsal mark
2317 @cindex mark, rehearsal, style
2318 @cindex mark, rehearsal, format
2320 The style is defined by the property @code{markFormatter}. It is
2321 a function taking the current mark (an integer) and the current
2322 context as argument. It should return a markup object. In the
2323 following example, @code{markFormatter} is set to a pre-defined
2324 procedure. After a few measures, it is set to a procedure that
2325 produces a boxed number.
2327 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
2328 \set Score.markFormatter = #format-mark-numbers
2331 \set Score.markFormatter = #format-mark-box-numbers
2337 The file @file{scm/@/translation@/-functions@/.scm} contains the
2338 definitions of @code{format-mark-numbers} (the default format),
2339 @code{format-mark-box-numbers}, @code{format-mark-letters} and
2340 @code{format-mark-box-letters}. These can be used as inspiration
2341 for other formatting functions.
2343 You may use @code{format-mark-barnumbers},
2344 @code{format-mark-box-barnumbers}, and
2345 @code{format-mark-circle-barnumbers} to get bar numbers instead of
2346 incremented numbers or letters.
2348 Other styles of rehearsal mark can be specified manually
2355 @code{Score.markFormatter} does not affect marks specified in this
2356 manner. However, it is possible to apply a @code{\markup} to the
2360 \mark \markup@{ \box A1 @}
2367 Music glyphs (such as the segno sign) may be printed inside a
2370 @lilypond[fragment,quote,ragged-right,verbatim,relative]
2371 c1 \mark \markup { \musicglyph #"scripts.segno" }
2372 c1 \mark \markup { \musicglyph #"scripts.coda" }
2373 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
2378 See @ref{The Feta font}, for a list of symbols which may be
2379 printed with @code{\musicglyph}.
2381 For common tweaks to the positioning of rehearsal marks, see
2382 @ref{Formatting text}.
2389 This manual: @ref{The Feta font}, @ref{Formatting text}.
2391 Internals Reference: @rinternals{RehearsalMark}.
2393 Init files: @file{scm/@/translation@/-functions@/.scm} contains
2394 the definition of @code{format-mark-numbers} and
2395 @code{format-mark-letters}. They can be used as inspiration for
2396 other formatting functions.
2398 Examples: @c @lsr{parts,rehearsal-mark-numbers.ly}
2400 @node Special rhythmic concerns
2401 @subsection Special rhythmic concerns
2406 * Aligning to cadenzas::
2407 * Time administration::
2411 @subsubsection Grace notes
2416 @cindex appoggiatura
2417 @cindex acciaccatura
2419 Grace notes are ornaments that are written out. They are made with
2420 the @code{\grace} command. By prefixing this keyword to a music
2421 expression, a new one is formed, which will be printed in a
2422 smaller font and takes up no logical time in a measure.
2424 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2426 \grace { c16[ d16] } c2 c4
2429 Two special forms of the @code{\grace} command exist.
2430 An @emph{acciaccatura}, which should be played as very short,
2431 is denoted by a slurred small note with a slashed stem. The
2432 @emph{appoggiatura}, a grace note that takes a fixed fraction of the
2433 main note, is denoted as a slurred note in small print without
2434 a slash. They are entered with the commands @code{\acciaccatura}
2435 and @code{\appoggiatura}, as demonstrated in the following
2438 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2439 b4 \acciaccatura d8 c4
2441 \acciaccatura { g16[ f] } e4
2445 @code{\acciaccatura} and @code{\appoggiatura} start a slur,
2446 @code{\grace} does not.
2448 The placement of grace notes is synchronized between different
2449 staves. In the following example, there are two sixteenth grace
2450 notes for every eighth grace note
2452 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2453 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2454 \new Staff { c4 \grace { g8[ b] } c4 } >>
2457 @funindex \afterGrace
2459 @cindex grace notes, following
2461 If you want to end a note with a grace, use the @code{\afterGrace}
2462 command. It takes two arguments: the main note, and the grace
2463 notes following the main note.
2465 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
2466 c1 \afterGrace d1 { c16[ d] } c4
2469 This will put the grace notes after a @q{space} lasting 3/4 of the
2470 length of the main note. The fraction 3/4 can be changed by
2471 setting @code{afterGraceFraction}. The following example will put
2472 the grace note at 7/8 of the main note.
2474 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
2475 #(define afterGraceFraction (cons 15 16))
2476 c1 \afterGrace d1 { c16[ d] } c4
2479 The space between the main note and the grace note may also be
2480 specified using spacers. The following example places the grace
2481 note at 7/8 of the main note.
2483 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2486 { s2 s4. \grace { c16[ d] } } >>
2491 A @code{\grace} music expression will introduce special
2492 typesetting settings, for example, to produce smaller type, and
2493 set directions. Hence, when introducing layout tweaks to
2494 override the special settings, they should be placed inside
2495 the grace expression. The overrides should also be reverted
2496 inside the grace expression. Here, the grace note's default stem
2497 direction is overriden and then reverted.
2499 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2511 @cindex stem, with slash
2516 The slash through the stem in @emph{acciaccatura}s can be obtained in
2519 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2521 \override Stem #'stroke-style = #"grace"
2526 The layout of grace expressions can be changed throughout the
2527 music using the function @code{add-grace-property}. The following
2528 example undefines the @code{Stem} direction for this grace, so
2529 that stems do not always point up.
2531 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2534 #(add-grace-property 'Voice 'Stem 'direction ly:stem::calc-direction)
2535 #(remove-grace-property 'Voice 'Stem 'direction)
2546 Another option is to change the variables @code{startGraceMusic},
2547 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
2548 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
2549 @code{stopAppoggiaturaMusic}. The default values of these can be
2550 seen in the file @file{ly/@/grace@/-init@/.ly}. By redefining
2551 them other effects may be obtained.
2553 Grace notes may be forced to align with regular notes
2556 @lilypond[verbatim,quote,ragged-right]
2559 \override Score.SpacingSpanner #'strict-grace-spacing = ##t
2562 \afterGrace c4 { c16[ c8 c16] }
2566 c16 c c c c c c c c4 r
2576 @rglos{grace notes},
2577 @rglos{acciaccatura},
2578 @rglos{appoggiatura}
2583 Internals Reference: @rinternals{GraceMusic}.
2588 A multi-note beamed @emph{acciaccatura} is printed without a slash,
2589 and looks exactly the same as a multi-note beamed
2590 @emph{appoggiatura}.
2591 @c TODO Add link to LSR snippet to add slash when available
2593 Grace note synchronization can also lead to surprises. Staff
2594 notation, such as key signatures, bar lines, etc., are also
2595 synchronized. Take care when you mix staves with grace notes and
2596 staves without, for example,
2598 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2599 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2600 \new Staff { c4 \bar "|:" d4 } >>
2604 This can be remedied by inserting grace skips of the corresponding
2605 durations in the other staves. For the above example
2607 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2608 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2609 \new Staff { c4 \bar "|:" \grace s16 d4 } >>
2612 Grace sections should only be used within sequential music
2613 expressions. Nesting or juxtaposing grace sections is not
2614 supported, and might produce crashes or other errors.
2616 @node Aligning to cadenzas
2617 @subsubsection Aligning to cadenzas
2620 @cindex cadenza, aligning to
2621 @cindex aligning to cadenza
2623 In an orchestral context, cadenzas present a special problem: when
2624 constructing a score that includes a cadenza, all other
2625 instruments should skip just as many notes as the length of the
2626 cadenza, otherwise they will start too soon or too late.
2628 A solution to this problem is to use the functions
2629 @code{mmrest-of-length} and @code{skip-of-length}. These Scheme
2630 functions take a piece of music as argument, and generate a multi-measure
2631 rest or @code{\skip}, exactly as long as the piece. The use of
2632 @code{mmrest-of-length} is demonstrated in the following example.
2634 @lilypond[verbatim,ragged-right,quote]
2635 cadenza = \relative c' {
2636 c4 d8 << { e f g } \\ { d4. } >>
2641 \new Staff { \cadenza c'4 }
2643 #(ly:export (mmrest-of-length cadenza))
2655 @node Time administration
2656 @subsubsection Time administration
2658 @cindex time administration
2659 @cindex timing (within the score)
2660 @cindex music, unmetered
2661 @cindex unmetered music
2663 @funindex currentBarNumber
2664 @funindex measurePosition
2665 @funindex measureLength
2667 Time is administered by the @code{Timing_translator}, which by
2668 default is to be found in the @code{Score} context. An alias,
2669 @code{Timing}, is added to the context in which the
2670 @code{Timing_translator} is placed.
2672 The following properties of @code{Timing} are used
2673 to keep track of timing within the score.
2676 @cindex measure number
2679 @item currentBarNumber
2680 The current measure number. For an example showing the
2681 use of this property see @ref{Bar numbers}.
2684 The length of the measures in the current time signature. For a
2685 4/4 time this is@tie{}1, and for 6/8 it is 3/4. Its value
2686 determines when bar lines are inserted and how automatic beams
2687 should be generated.
2689 @item measurePosition
2690 The point within the measure where we currently are. This
2691 quantity is reset by subtracting @code{measureLength} whenever
2692 @code{measureLength} is reached or exceeded. When that happens,
2693 @code{currentBarNumber} is incremented.
2696 If set to true, the above variables are updated for every time
2697 step. When set to false, the engraver stays in the current
2698 measure indefinitely.
2702 Timing can be changed by setting any of these variables
2703 explicitly. In the next example, the default 4/4 time
2704 signature is printed, but @code{measureLength} is set to 5/4.
2705 At 4/8 through the third measure, the @code{measurePosition} is
2706 advanced by 1/8 to 5/8, shortening that bar by 1/8.
2707 The next bar line then falls at 9/8 rather than 5/4.
2709 @lilypond[quote,ragged-right,verbatim,relative,fragment]
2710 \set Score.measureLength = #(ly:make-moment 5 4)
2714 \set Score.measurePosition = #(ly:make-moment 5 8)
2720 As the example illustrates, @code{ly:make-moment n m} constructs a
2721 duration of n/m of a whole note. For example,
2722 @code{ly:make-moment 1 8} is an eighth note duration and
2723 @code{ly:make-moment 7 16} is the duration of seven sixteenths
2729 This manual: @ref{Bar numbers}, @ref{Unmetered music}
2734 Internals Reference: @rinternals{Timing_translator},